Volume II — Number 48
October 2012
Monthly Newsletter
Steve Klein . Export. Newsletters
M. A. Carretero.
In our country, right now, with no sign of change for the better but for the worse for a period of time still unpredictable, private consumption has been reduced by a percentage that scare.
The proper use of glass is not taught in universities, we must acquire to crush and grind base.
To our craftsmen, the stands of the fairs are becoming more expensive. There is talk that The family incomes have de- this year's Christmas Craft Fair clined alarmingly. Many in Madrid will add a fee of pensioners have had to take 2,000 € per stand. It's crazy. care of their offspring beThe VAT rise has given the cocause they have become part of the huge volume of up de grace to their meager workers who have run within income and many advocate the unemployment insuran- and call for support for a reduction in fees paid Social ce benefit. Security for artisans. The wealthy do not drop a Crumbs hungry for today and dispensable for euro issues tomorrow. that the "just in case" and take their money to tax In domestic trade no solution. havens to keep them in a Those who have not, because safe place, with the full conthey can, and they can, besent of our monetary autcause they do not want. horities. What to do? The stomach ocWith this bleak outlook, acticasionally called preferential vities "sumptuary" received attention. The need to cover the biggest blow to his ribs essential expenses or yes. and are increasing their stocks and a significant reGiven this dismal picture, duction in sales. again, you have to throw to Nuestra sede: the outside. Hard but true Castillo Grande de As part of these activities is and necessary. S.J. de Valderas the world artistesano glazier. Avda. Los Castillos, s/n Without hesitation. We must Asphyxia is part of their daily seek contacts outside our 28925 ALCORCÓN. lives and most of its compoborders to increase sales. (MADRID) nents do not know where to info@amigosmava.org shoot. Using the possibilities offered by the Internet to open a porMany leave and jettisoned tal and offer attractive proall its technological backducts. ground acquired with great effort. But yes, with competitive products, especially quality and then price. It is undeniable.
Format PDF You have to attend the major international fairs and which are less so. The event is to gather contacts. We must ask our Chambers of Commerce abroad to quit touching the belly and help our industry. To open doors for our products. But you can never argue "that you offer and you need help." Since this attempt is a component of extreme hardness, go united in our aim. Not my individuality, except in very limited and exceptional quality products. And it is the case for most of our artistesanos. Take advantage of a stand to offer the work of several if its price can not be met by one. Another idea would already repanocha is the implementation of an appellation of origin. Or several, depending on the products, their geographical location ..... Broadly speaking, without going into specific considerations: where wine, oil, cheese, ham, furniture, etc. The works are and why they can not have the glass? Utopia? Maybe, but why not?
But it is hard to try this adventure without a union between artistesanos. We took a long time telling these pages. Not worth the "every man for himself". Or all together or that no one can stop and fix it. The We need to innovate, design, hole without remedy. A proof offering quality, differentiated we refer. production, flee copies (investors are smart, they can not try to cheat, they can not be to fake).
October 2012
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S PE C I A L I NT E R E S T:
Important issue: the Intellectual Property Law (XIX) M.A.C.
Part of the month
Intellectual Proper- by the person who is holder reproduction or the holder shall inclu- transformation of a ty Law
Close the ACG
Orgy of colors
Visit to Javier Velasco
TITLE VII. Software.
When the offender is a natural person the duration of the operating rights of a computer program shall, under different circumstances, be that, as provided for in Chapter I of Title III of this book.
Activities on the MAVA News Our activities
Volume II — Number 48
de the right to do or to authorize:
Glass recycling How does
CONTENTS:
When the offender is a legal person will last seventy years, counted from January 1 of the year follo- wing the lawful disclosure of the program or that of its creation if it was not published.
computer program when such actions are necessary for the use thereof by the legitimate user, in accordance with its intended purpose.
reproduction in whole or part by any means and in any form, whether permanent or tempora- Performing a backup ry. by who has the right to use the program may translation, not be prevented. adaptation, arrangement or A lawful user of a copy other transforma- of a program shall be tion and reproentitled to observe, studuction of the dy or test the functioresults thereof. ning.
Part of the month
3
Established artists
4
Young artists
4
Close the ACG
5
Orgy of colors
6
Research line
7
Activities in Museums
8
Visit to Javier Velasco
11
Activities on the MAVA
12
Visit to Sara Sorribes
13
Technical Glass
15
News
16
Culture 2012
16
With Agustin Aguirre
17
The crisis, the high prices they have
Guardian strike
17
to pay for taking a stand, the ad-
The glass museum
18
venture that pay a significant
The exclusive rights of exploitation of a computer program
any form of public distribution including rental of the original computer program or of copies thereof.
No need authorization
The author may not object to the assignee of operating rights holder making or authorizing the conduct of successive versions of your software program or derivatives thereof.
URGENT NEWS Farcama 2012.
amount without the assurance that
Staiend glass in Guadalupe 19
at least the investment can be reco-
Glass recycling
20
Cultural tours
22
reason to the glass sector is not well
Culture 2012 Programme
22
represented in this important exhibi-
Martin Walde
23
tion.
Glass in Rio
24
Farcama has this year with the pre-
Glass in National Library
25
sence of 156 exhibitors, a hundred
Other trends
26
In orbit above NY
27
Eighty tears Gordiola
28
Glass workshop in Murcia
29
More on The Trinity
30
The resonance of the material
31
groups and free for children under 8
Françoise Venneraud
32
years and professionals.
How does
33
Temple of Johor Bahru
34
Islam in the Louvre
35
”Inmobile” in Geneve
36
Expoliation in The Trinity
37
Museum the Vimbodi Directorate
vered through sales, seem sufficient
of which are of Castilla-La Mancha, 51 from the rest of Spain and the rest of France, Hungary and Portugal. The price of admission is three euros for general public, 1 euro reduced for retirees, young families and
On Monday October 5 opens at the Craft Fair Toledo Castilla La Mancha.
Go there like in previous years to see the excellent work performed by craftsmen and able to meet the
In previous years we have come to
possible representation of the glass
the fair to greet a large number of
sector and, through reading the list
artistesanos glassmakers who parti-
38
of exhibitors, we see that it is very
cipated with their achievements in
full.
39
the dissemination of the glass to the audience.
In the next newsletter we will take a detailed look at the various aspects
This year we analyzed the list of ex-
that certainly we have more atten-
hibitors and we miss most of them.
tion.
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Part of de month. Robert Clark Palusky. Composes complex works that
October 2012
require time and culture to be interpreted. Apparently this is a whimsical overlapping elements that could function independently, so all being figurative and recognizable combination is precisely
Volume II — Number 48
what makes his work something strange, original and suggestive. The whole work comprises a complex narrative for using Western imagery and where, in a very personal, confronts man with the complexity of their culture. In the work of MAVA Palusky donated in 1997 and therefore within the set of foundational works, it is difficult to decide which is the front and which the back of the work, as both sides support rich iconographic messages. The title of one of his latest exhibition at the Gallery Habatat New York, gives us an idea of what it intends to convey Robert Robert Clark Palusky studying at
Palusky works are made by
Clark Palusky with their works: et-
Rochester Institute of Technolo-
combining glass, using different
ting intimate: Small important
gy (1969).
techniques such as casting
works in glass.
Master of a large number of glass techniques, has taught many artists from the 60s, but al-
mold, blown glass paste, etc., With other materials, usually stone and ceramic.
Palusky Rober has work in museum collections as the Cincinnati Art, the Corning Museum of
so widely dominates the use of
He also works extensively with
Glass in New York, the Boston
ceramics.
technical parts surface as
Museum of Fine Arts, the Mu-
paints, marks, mosaics, prints ...
seum of Modern Art in New York
searching the plasticity of mate-
and the Museum of Modern Art
rials.
in Sapporo, Hokkaido.
During the last thirty years has been Professor of Art at Hamilton College in New York.
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Established artists. Steve Klein.
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October 2012
Steve Klein has taught, studied and displayed his art in exhibitions and workshops in the U.S., UK, Australia and Taiwan. In 2002 and 2005 completed artist residencies of Pilchuck Glass School in Stanwood, Washington. Klein has been featured in Neues Glas, American Craft and Glass Quarterly. His work is in the collections of the Museum of Arts and Design in New York, North Lands Creative Glass in Lybster, Scotland, and the Museum of Glass in La Granja, Spain.
Steve Klein was born in Los Angeles (USA) in 1946 and resides in Long Beach (California).
experiment.
With my work I try to offer a moment away, a tiny breath "The work I do is different as ins- of beauty and comfort of the piration. everyday.
"My recent work seeks to explore and appreciate the memories, the consequences and the fragile state of balance."
However, it is the result of contemplation, considering my desire to bring beauty to life.
In the development and manufacturing process, constantly reminds me to look for beauty and the positive in every situation.
"My work is influenced by the chaos in our daily lives, the struggle for self-control and inner peace and an appreciation of beauty that mankind has always managed to find in life. I try to portray feelings inside the glass, so that the material becomes part of sensibility. "
The inspiration comes from my emotional interaction with everyday life and often is influenced by the environment and the special moments that
Take me to the sensual beauty and sensitive glass, and its relationship with light and reflections emotion it emits. '
Young artists. Tara Woudenberg.
Our web
Glass and Tara are working together since 1999. Seven years worked in the glass factory conventional Oude Horn in the Netherlands where he became expert in the art of moving with (not against!) Hot glass. Travel the world extensively in his expeditions glass and collaborates with many teams from different cultures.
Woudenberg Tara was born in 1978 in Holland. Create a job that represents the way you perceive the movements of his ever changing life.
Since graduating in 2011 with a Master of Art and Glass Science at the New University of Lisbon in Portugal, it seems clear to her that the universe provides "signals" to their motion in specific directions.
"With a childlike wonder and the concentration of a scientist who curiously communicates with the confusion and the privilege of "I feel the wind touches me, is to being ignorant. That's my inspira- make the trees drop their symtion." bols and collect I are talking."
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Close the Andalusian Center of Glass.
Volume II — Number 48
October 2012
workshop, but an open art space. At first it had the support of the Government of Andalusia through various initiatives to promote employment, and so in the beginning, the workshop was made up seven students and two teachers, who used different ways to work with glass. One of the teachers was Gabi Ignasi, son of the great Mallorcan artist Pere Ignasi, with whom we had the pleasure of talking to the visit we made to the Center in May 2010 and described in our Bulletin No. 23. Lack of support by the City of Castril (Granada), ruled by PP, IU and two independent groups, has led to the closure of the workshop of the Andalusian Center of Glass in the town, which was supported by Nobel laureate Jose Saramago and the center that bears his name at the time, as reported by the PSOE in the town.
jugs, but also manufactured other articles intended to adorn and decorate houses as 'jug castrileña'.
The recovery of one of the most important artistic activities Castril in its history was made possible with support also provided by the Center of José Saramago, the Junta de Andalucía and the previous government castrileño Hall, the PSOE, "but his continuity has not been possible in the absence of real support and repeated breach of commitments "by the current mayor, Miguel Perez (New Castril) and quadripartite government.
Once recovered this office, until now you could buy glass pieces in Castril generated by different techniques, the blow, which is what was used previously, the torch, glass beads for use in jewelry, and of melting obtained with the multitude of decorative elements.
The ancient art of glass that was installed in Castril around 1504 and was lost for the first time in the late nineteenth century. Don Hernando de Zafra, lord of Castril after the reconquest, founded Castril a showcase in 1504, using the natural resources available to it, becoming a thriving business until it closed in 1878. The products that were produced were mainly for industrial use, such as jars, bottles and
The manufacturing techniques used were blowing and molding, and in color, glass Castril had a range of green ranging from dark to light olive green or slightly yellowish smoke.
This tradition and the glass business was resumed a few years ago thanks to José Saramago Center, which created the Centro Andaluz Castril Glass, collecting cultural concern to recover the glass industry of Castril through the creation of unique art glass center of Andalusia .
The most important and why this whole project was conceived was the art of blown glass, which is what was used previously. Also present at the workshop torch technique, which is used to make glass beads for subsequent use in jewelry, and fusing technique, consisting of flat glass melting furnaces, getting colorful dishes, plates, ashtrays and other decorations. In his final years, four of the most advantaged students of various training initiatives had formed a partnership and kept the activity, first with the support of the City in the previous term and in the last year, with no municipal support. Precisely the lack of such support has ended the initiative, for without such help is impossible to maintain an activity, on the other hand, was and is one of the best letters for the town and a real boost for tourism, as argued in a statement of socialist and former mayor Jose Juan Lopez Ródenas Castril.
This was launched a project aimed at the dissemination of culWe deeply regret that this proture and art glass through eduduction center Andalusian glasscation, both technical and artisware has been a victim of this tic. restrictive policy merciless investThis project resulted in the crea- ment in culture, and in these pages we show our support to the tion of a place to a direct apmembers of the association that proach to the glass, where visitors not only find a glassblowing has kept showcase activity during time they could.
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Orgy of colors Carlo Scarpa.
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October 2012
ged shape and use. Ceased to be only decorative, and from the architectural point of view, represent new functions, "says Barovier. Later, in 1940 reinvents the ancient technique of blunt murrine, a kind of glass mosaic. Scarpa rectangular creations are a riot of color.
A man of few words. Shy and stubborn. A volcano of ideas with great people skills. The great Venetian architect Carlo Scarpa (Venice, 1906 Japan, 1978) managed to enter the world of cerradísimo glass masters of the island of Murano. Of them became fellow, knew their secrets to apply to the design of the glass, and of course, to the architecture. That is what can be seen in a former Benedictine monastery, now houses the Giorgio Cini Foundation, which sets up the November 29, Carlo Scarpa, Venini 1932-1947. For the first time have been collected 300 pieces of glass, all of great historical and economic. Some cost more than 100,000 euros. Scarpa's passion for glass began as a student of architecture. "It was a curious person, spent whole nights in the ovens. In whatever he did was to understand the material down to the chemical composition. To work with glass is necessary to know how matter reacts, depending on how you want to give to the object and as the colors used. Scarpa was a true alchemist, "he told the commissioner COUNTRY, Marino Barovier, descendant of a family that creates objects from Murano 1400.It
"This is an excuse to reflect on the importance of design in the work of Scarpa. Muranes period represents an important chapter in his vocation and experimental craft. One way to compare the work of was also curator of exhibitions Scarpa-designer-architect Scarpa earlier, the "Wizard of and Scapra "he continues. architecture, he considered It seems that Barovier loves the job a poem." everything about this art, he Barovier met thirty techniques said, now in crisis. employed by Scarpa. "If you walk around Murano, They differ from each other in find many shops selling protechnical execution, as well ducts made in China rigorousas the "fabric" of glass obtaily. There are only 60 teachers and few young people willing ned. to learn the trade. " The exposed material meets unique pieces, drawings, origi- While saying this, says a huge nal sketches, photos and two picture of 1936. In the foredelicious documentaries. ground, a glazier in full fatigues, and out of focus, six worThe first one (Carlo Scarpa kers, almost friendly, attentive and its infinite possibilities, look. Joining them Scarpa. 1984) recounts the night in 15 minutes of work in the window The Scarpa sample coincides with the opening of a new exof the master Luigi Nono. hibition, The glass rooms, so The second (Carlo Scarpa out named by Pasquale Galiardi, of Paradise, 2012) contains a director general of the Cini number of testimonies of his Foundation. disciples. The space has been transforWorth spending ahead of the med into a cozy place by Andisplay 60 minutes to explore nabelle Selldorf. the universe of Scarpa. Is proThe building of 650 square mejected twice daily. ters is located in the western Organized chronologically, part of the island of San Giorthe journey through the world gio Maggiore. of Scarpa boots alchemist with beautiful examples of In this sector of the small isusing the bubble technique, land, for centuries, the Benewhich is nothing, that the use dictine monks of the day deof potassium nitrate in the voted to farming. sand mass base to give life to "The Benedictines had a mota glass piece. to: pray and work. The idea is Experiencing Scarpa won the that many artists come to discritical editions of the Bienna- play, why not experiment and, later, create an oven”, Galiarle, 1934 and 1936. di ditch. "It was beyond decoration. Materials developed chan
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Line of research: Inclusions (VII).
Volume II — Number 48
October 2012
Estefanía Sanz Lobo.
The first is the use of templates, especially those with a grid and create textures frame, which may overlap each other or other inclusions at different levels in the same work.
Therefore, the compatibility of expansion coefficients must be optimal if one wants to avoid destroying stresses ending the work.
As an example, mention quite spectacular breakage corresIn working with these templates ponding to a large glass, consisare very useful some plastic ting of yellow and red chips, enmesh used to wrap fruits and ve- closed between two glass. getables. In a first cooking, which gave no The procedure is simple: just put problems, the chips are melted the mesh on a glass plate, and with the base. sprinkle the glaze over it using a In the second, fused glass sheet sieve. 3mm on the work. Be careful when removing the enamel mesh above it does not When you open the oven, the fall on the work achieved by al- piece had some strange breaks rounded shaped "puzzle". See tering the structure. Fig 3. Glazes and glass powders are It is very useful to read breaks better perceived the dark and works to understand why they opalescent. occurred. The two works, Fig 1 and Fig 2, In this case, the edges of the were created using frames collected as described above, to- pieces were sharp. gether with other elements in in- This means that breakage occuclusion. rred during the cooling phase of The second procedure especially important to create internal volume is overlapping in different levels of the work, shapes drawn with brush. Problems encountered in working with fries: breakage incompatibilities Working with fries is, after all, the merger of two glasses.
the work, that is, when the descending temperature curve. If it had been broken during heating, for a rise too fast between room temperature and 550 ° C, the edges of the breakage would be rounded by the heat and even partly welded by effect of the expansion in the top of the curve.
The fact that the lines are so tortuous in this break may be due to the presence of different types of glass in the work. The colored surface consisted of red chips (particle size 3 and dust), fried yellow powder granulometry 3) and float glass of Spanish Glassware and coarsely ground powder. Thus, the tear lines are created following the placement of different glass composition. A difference in coefficients of expansion of the glass, add another factor: the failure could be due to a drop in temperature too quickly, because when working with fries must give even more cooling time. In fact, the thicker are the pieces of glass which are to melt, annealing longer be accurate. Therefore, the coarse chips require cooling slower than the same glass powder, enamels, oxides, etc. In Fig 4 shows the structure of the play that broke. The chips are trapped and fused between two layers of flat glass. The thickness of the chips attached to the glass sheets may exceed a few millimeters to other works of that batch. The curve was calculated to 9 mm thick. This difference also may have contributed to the break.
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Activities in Museums I.
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October 2012
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Activities in Museums II.
Volume II — Number 48
October 2012
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Activities in Museums III.
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October 2012
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Visit to the exhibition by Javier Velasco.
experiences and symbolic images contained within the walls of the cockpit. "
October 2012 Volume II — Number 48
View photos
Jose Guirao Cabrera, in another presentation that includes the exhibition catalog, indicates that "originates from a Canto of Dante's Divine Comedy, one that speaks of a river of blood in which the condemned drown. Upon entering the springs in the cockpit of that river surround us, we are immersed in his blood, to show, in his mirror, that condemned us. "
We had a real interest in being able to establish personal contact with Javier Velasco, as the author of the book "Glass Body" which won first prize in the contest that was held on the occasion of the first and only Glass Biennale is Alcorcon held in 2006 and is part of the permanent collection of MAVA. And we have taken the exhibition installation in the Sala La Gallera, Valencia, that would guide us on a visit to his book "The Seventh Circle". La Sala La Gallera is a nineteenth-century industrial building that originally, as its name suggests, was dedicated as a venue for cockfighting, hence its original form, a dodecagon with three stories high, each of them with balconies offering views space as a whole.
spectacular. Because the installation that resembles Javier presents strange beings descending through thin threads of glass to a final destination, a goal that only the viewer can define fantasy. And Javier speaks of Mercurochrome singular element in his works. It is the only artist to use this component for its facilities. You have to remember, in this connection, that the work is also exhibited at the MAVA rod is made of bright red. Even the name of the exhibition itself may be a clue to where the topic is its content: the monumental literary work of Dante Alighieri's "The Divine Comedy".
Alberto Fabra, President of the Valencian Community, said in presenting the exhibition cataIt is important to note the origin log that "we are witnessing a reof the room because the impact fined exercise in synthesis of idethat the visitor receives when as and signs from an emphatic the curtain opens the entrance use of pictorial language. The and penetrates inside is exciting. cross appeals and suggestions Remember the blood of animals on making the artist experimenting with the senses and persoemerging in spurts in his fights when he sees the staging of the nal growth axis plot the universe created by Dante, we invited as work of Javier is awesome. spectators but also as an inteAlso, for us to add to this enorresting protagonists reading mous impression that the work is around this original altarpiece carried out in glass is even more concepts,
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Javier Velasco says it in the presentation of his work, has relied on a team of collaborators for their realization ".... the team, even occupying a discreet background relevant and in many cases, be of paramount importance as it finally artistic experience. " And is that Javier came to the cockpit with the figures of the strange beings descending already made and supported by a team of collaborators, worked with glass threads that complete the installation using "simple" stretching processes. The installation is completed with panels placed on the walls of the first floor of the room in which they represent trusses supporting the bloody destructive aspect of souls who rush to Phlegethon, the river of blood mentioned by Dante in his work. In one of the panels projecting a movie in which paths which follow represent blood fluids through a free path on a hypothetical plane. And all with an illumination changing, always intense reds, which provide an environment uneasy, almost fearful, typical of what the facility wants to suggest. By summarizing the feeling that we produced the visit to this great work of this artist: shocking.
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Activities on the MAVA. 15th Anniversary.
Volume II — Number 48
October 2012
During this period there was a Biennale of Glass in our City in the piece that won the "Body of Glass" by Javier Velasco, Cadiz artist based in Valencia and we've had the pleasure of greeting on the occasion of our trip to this beautiful city to see his exhibition "The Seventh Circle", visit to which we refer in the article on the previous page of this Bulletin. Unfortunately, in our opinion, after these fifteen years, the MAVA no media projection it deserves by the importance of the works that form its permanent collection. A prominent overcoming this gap is addressed much of On 23 October this month met our Association and as a persothe activity of the Friends of the fifteen years since one lucky day nal friend. Museum, that we make every efof 1997 opened this lovely niche The commemoration of the fifte- fort to make the image of MAVA of contemporary sculpture maenth anniversary should be a tri- known in as many areas as posside of glass that is the Museum of bute to him and, with him, to the ble. Art Glass Alcorcon (MAVA). memory of Takako Sano, a key And we miss the presence of Fifteen years showing the public figure in the existence of this musponsors who provide financial the excellent sculptures which seum, which offered support for support for temporary exhibitions houses its permanent collection. Javier to begin the journey of of renowned artists and today MAVA and, unfortunately left us Realizations of diverse styles, arare unthinkable, given the lack in November 2006. tists more heterogeneous and of support from our City. most reputable in the second Over the past fifteen years there The celebration of this 15th annihalf of the twentieth century have been numerous exhibitions versary is expected to be all moand the most varied techniques. to give the public the works of dest resources allow, but we're various artists and, in most cases, All this, thanks to the desire, insure you will not miss the heat have had the courtesy to let terest, love for their host city, the from all those feeling the MAVA one of his works to the Museum's love of glass artist Javier Gomez as our own and very valuable. permanent collection. Gomez, whom we are proud to have as Honorary President of www.amigosmava.org
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
Visit the exhibition of Sara Sorribes.
And it is worth noting here and now the merit Sara to keep alive and running the estate of his father, J. Sorribes, which was once one of the most prominent Spanish artisans in glass processing and handling.
October 2012 Volume II — Number 48
View photos
And we found splendid collection of pieces that were hanging on a wall aviaries paths of the exhibition hall.
As the web's Craft Centre Valencia referring to this exhibition, hatching, life in glass! is the title that the Valencia company Glass Crafts J. Sorribes, Innova category finalist of National Crafts Awards 2010, set to the sample opened last September 13 at the Craft Center of Valencia, which was attended by the Director General of Trade and Consumer of the Community, Silvia OrdiĂąaga. This exhibition is the launch of the new firm Crling! By Sara Sorribes, born of cooperation between this artisan company, Professor at the Polytechnic University of Valencia, Manuel Martinez Toran and a creative team, along with the collaboration of the universities of Valencia and Mexico.
The aim of the brand was to develop a first collection in three lines: glass jewelery, clothing and accessories, and home and lifestyle, where the glass comes into the picture. This project involved designers from Spain, Mexico and Italy, designing not only each of the pieces, but also his message. Behind every story there is a realization that has an experience, a testimony where you can see past, present or future. The effort made Sorribes Sara to see his wish to show the public these designs has been extraordinary, sacrificing your holidays and your family to carry out the implementation of the parts.
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Each of these pieces has its name and some of them are stored inside the allegorical element that seeks to highlight the message. In the center of the room, the tree of life reflected in each of its various branches creations made by Sara and her team. A glass creations made for supplements or protagonists of an elegant woman's wardrobe. According to Sara informed us, the opening of the exhibition was a resounding success, both audiences and critics and surpassing their expectations put on the event. The whole collection will be moved to Madrid in November and exposed in Fundesarte rooms. From this page you repeat Sara and her team all the congratulations and we express it in our visit.
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XVI National Exhibition of Art Glass in 2012.
October 2012
Also, as I said Veronica, is a holiday because after many years we have been carrying out the glass furnace, a whim we had for several years, and is pleased that we have begun to build classrooms that are going to enlarge the museum and allow more space.
Volume II — Number 48
It is my great pleasure and has to do with the continuity of the cultural project in Berazategui ". Glass is the main protagonist of the National Exhibition of Glass in Art, an event that usually combine the finest pieces made in the categories Classical Technical Stained, Stained Glass Painted with Grisaille Classical Technique, Small Format, Technical Non-Traditional, Sculpture, Student Vans in Glass. Since its inception, the Municipal School of Glass is responsible for promoting, disseminating and consolidating Berazategui condition of the glass as a pioneer city in the country. Also, the school is also dedicated to the development and promotion of glass as a material work of artists, artisans, designers and producers, recovering local craft techniques. New facilities
On Saturday September 8 opened in the Municipal Complex "San Francisco", located on Calle 23 and 149, the XVI National Glass Lounge in Art 2012, bringing together more than 50 pieces of exhibitors from around the country. The opening ceremony began with the opening of Blown Glass Furnace and live demonstration by teachers School Workshop, and continued with the presentation of awards to the winners of the various disciplines. Organized by the Ministry of Culture and Education of the City of Berazategui through the Municipal School of Glass, the event is held every year and invites artists from different parts of Argentina. The exhibition will remain open, with free admission to Sunday October 14, Tuesday to Sunday from 15 to 19 hours. The meeting was a great call and was attended by city officials and artists from around the country were also present participating exhibitors from around the country, artists and the general public.
three years, and the opening of the museum, with its Contemporary Art Gallery Glass. We really prom dresses today and is a joy that you have come to join us, "said Avila, who in his role as watchdog of the exhibition was very happy with your level. Then, on behalf of the Secretary of Education and Culture Hall, Mr. Federico Lopez, and his role Berazategui Cultural Advisor, former head of the ministry left the exhibition opened with these words: "For me it is a must be every year after opening this Chamber for 14 years as Secretary of Culture, and having spent 23 years carrying out this cultural project which had as its central theme the glass. " Lopez said that "if parts of the hall were music, at this time we would be listening to the most wonderful melodies.
So I want us to give it up for these artists, because they allow us the joy of being here, and make one, but that is a long time in this, do not be surprised in this Chamber and in tho"For us today really is a holiday, bese to come, because creativity has cause we have opened this Hall and no roof and that makes the room also the opening of the furnace always triggers curiosity to be able blown glass, we had a project for to come. www.amigosmava.org
Finally could be built in the Municipal Complex "San Francisco" blown glass oven, made "very important because the glass blowing is the soul of the glass, because through it you can see directly the transformation of the glass, the whole process of transformation "according to Avila, who added that it" is a technique that will now enter into our educational ". Winners Acquisition GP: Alejandro Daniel Herrera Guiñazú (Godoy Cruz - Mendoza) Category "Traditional Techniques" 1st prize: Sofia Villamarín (La Plata Buenos Aires) 2nd prize: Claudio Alberto Allegrini (Ituzaingó - Buenos Aires) 1 Mention: Omar Racing (Federal Capital) 2nd Mention: Guillermo Fernandez (Federal Capital) Category "Non Traditional Techniques" 1st prize: Claudia Golzman (Federal Capital) 2nd prize: Ruben Fasani (Federal Capital) 1 Mention: Diana Burman (Federal Capital) 2nd Mention: J. Silvia Holzkan (Tigre Buenos Aires) 3 ° Mention: Norberto Chutrau (Tandil - Buenos Aires) Jury Mention: Viviana Caprarulo (Homemade - Buenos Aires)
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Glass techniques. Color palette (XVI).
Volume II — Number 48
October 2012
Estefanía Sanz Lobo
In Fig 1 and colloidal gold has dissolved and spread on this glass, having a black portion and a white opal transparent.
The result is a crackle gold, in the zones where it is thicker, built on a bubble appears. Lost mirror shine.
The expressive possibilities offeOn the black area is best apprered by this material is interesting, ciated golden hue, in the white because it can be mixed with zone, appears reddish. glaze and fried testing it is necessary to pre-cook. Before baking, must be dry. Moorman (1990) recommends Colors can be directly cooked waiting at least an hour before on gold or on a transparent baking. glass placed on it. The metals may be used in sandWhen heated to the melting wich or surface. temperature, the glass sheet expands more than the gold. For use in sandwich previously necessary to bake temperature No cause tensions since gold is of 650 ° C. the minimum thickness, but it craquelará causing an interesOtherwise, the milieu in which ting effect. they are dissolved form a thick black spot when burned, and Crackle also arise when the the result would look nothing exglass is thermoformed, or when pected. melted on gold thick glass pieces that modify the horizontal To put it in a sandwich, gold loglass surface on which it rests. ses some of its metallic luster. The gold may be fired between 650 ° and 750 ° C, but good results are also obtained at higher temperatures (melting temperature) and second firings.
The effect created by the gold mirror is also an interesting expressive element, however, is lost when the glass is melted above 700 ° C to cause the gold crackle.
used by potters of Syria and Egypt, which applied silver or copper oxides on glaze and baked, then subjecting to a reducing atmosphere. Lustres marketed today and other dissolved that a glaze applied on not require reducing atmospheres. Since treatments are glazing over (Jacket or third fire), can be applied to the glass surface to produce metallic finishes, iridescent or pearly. If we leave aside the colloidal gold or gold sheen, which does have a long tradition in the world of glass, the origin of these glosses is the ceramics sector and for this reason it is difficult to get products specially formulated for glass. In tests I used a pearl luster Ceramichrome company, formulated for ceramic. The luster pearl is a transparent brown liquid, toxic by inhalation as colloidal gold.
All the above given recommendations for extending the gold colloid (type of brush cleaning When baking, it is essential to keglass and the area specific diThe glosses. Lustre pearl. ep the oven with open ventilaluent) serve for the pearl luster, tion to at least 700 ° C, as the fuThe chandeliers are from the ce- except for the amount of subsmes given off by the metals can ramic media. tance deposited on the glass. If affect the color and brightness the colloidal gold was necessary achieved. In this area, the luster technique to a thick layer with pearl luster consists of a decorative treatshould be just the opposite: the In the test is quoted in Fig 2 Coment is applied to a glass surfacoat should be fine. lloidal gold has been baked, ce that provides a metallic or and then is covered with a glass iridescent appearance. A thick layer form blisters and flaslide and become baking. king when cooked. This is an old technique, already
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N E W S (I).
XVI National Living Glass. Glass is the main protagonist of the National Exhibition of Glass in Art, an event that usually combine the finest pieces made in the categories Classical Technical Stained, Stained Glass Painted with Grisaille Classical Technique, Small Format, Technical Non-Traditional, Sculpture, Student Vans in Glass.
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October 2012
Page 16
Since its inception, the Municipal School of Glass is responsible for promoting, disseminating and consolidating Berazategui condition of the glass as a pioneer city in the country. On September 16 opened at the Municipal Complex "San Francisco" of Berazategui, located on Calle 23 and 149, the XVI National Glass Lounge in Art 2012, bringing together more than 50 pieces of exhibitors from all over Argentina.
The opening ceremony began with the opening of Blown Glass Furnace and live demonstration by teachers School Workshop, and continued with the presentation of awards to the winners of the various disciplines.
Also, the school is also dedicated to the development and promotion of glass as a material work of artists, artisans, designers and producers, recovering local craft techniques. The exhibition will be open until October 14.
Culture 2012. tion and a job that has since 1997 when he made his first exhibition. A career that was consolidated with force and in 2002 when he joined the workshop of the Prado Museum by its director Don Francisco Molina Montero. He studied four years at the gallery, time to mature as an artist.
Don Francisco Molina Montero, Director of the Prado Museum shop sent a message to Carla in May 2009 that claimed that `this is not a recognizable landscape painting, localist, is a universal landscape, essential, I would say that an interior landscape, a landscape of the soul '(..) `When I saw your work first checked the interest manifestabas for figuration. Nature, especially The last September could not come plains the media organization. `The landscapes and depictions of anito the Hopper exhibition at the Thys- whims of fate that his career did gimals, were your favorite topics. A sen Musey, Madrid, as planned but ve a 180 degrees and his last mowork loose, vital, where gesture and we were visiting Carla Duval House ments were devoted to his other touch as much emphasis had respace Cows Retiro Park. passion, theater. presented '. The exhibition, organized posthumously by his sister Norma, ended on September 26. An exhibition reveals the artist's soul. The organization explains that looking at the work of Carla Duval is walking his soul.
The disease is caught in one of the most loved, the stage, surrounded by great friends who shared with her the poster of the play `Bruges''.
The exhibit shows pictures of subjects such as horses, one of the artist's favorite subjects, along with the nudes and portraits, as he did in Paris Norma on stage, specifically His sister Norma remembers with a pencil or charcoal on hand. His en- on the 'Follies Bergere', where he trepreneurial and fighter made that worked. In this work we have admiThe essence of an artist who began childhood dream was slowly beco- red, not only painting, if not the being of Carla, your deeper self. It is painting five years and throughout ming a reality and that's how he his life was a self-taught painter. started painting on large canvases therefore sample a very talented painter to which only lacked time. unleashing the innate talent he Art Lover 'as few, managed to had. combine her dream as an actress with her passion for painting' exCanvases displayed in this collecwww.amigosmava.org
N E W S (II).
In the workshop Agustín Aguirre. events of the festival of San Fermin Txikito. Thus this artist navarro peculiar wanted to put his two cents linking art, culture, tradition and parties in a radiant morning. Large audience visited the store and could learn about the secret that hides in the basement of the porches of the Castle Square, at 23: the exhibition and workshop Agustín Aguirre.
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October 2012
Page 17
Those who came were able to see how the technique works Tiffany, performing with stained glass windows, lamps and other decorative details, how to recycle a bottle transforming it into a clock and how to create glass jewelry.
Agustín Aguirre Artistic Workshop held on Saturday September 22 its second open house, act inclu- Furthermore, the technique ded in the program of known Explode Glass, a world
that has been created and developed by Augustine himself Aguirre, with works performed as striking as lamps, with glass, are both flexible and unbreakable. Finally, they could see some of the paintings, from 4 to 7 October, the artist exhibited in Stockholm. The process of "glass exploded" requires several previous operations, among which the preparation of the colored tiny pieces of this material, which will be used in the work. To achieve these small pieces are crushed and screened glass purchased on the market. Used up to 45 shades in three thicknesses, the largest similar to a grain of rice and almost the smallest dust.
Guardian paralyzes its production. all their production after the first day of the strike called by the works council (be three) as a protest against the collective agreement it intends to implement the direction. "Many operators have offered to report to their jobs, but has preferred to remain invite their homes to threats (letters, painted, etc..) That have been" added the official note.
The address in Llodio Guardian
paralyzed, as the float furnaces
reported on 26th September that and printed, they have to remain its production of glass is totally
continuously lit, have destroyed
Artifex, Roman Engineering in Spain. The exhibition "Artifex, Roman Engineering in Spain" aims to bring the public the broad technical legacy of the Roman world, showing knowledge in the various fields of technology and its applications in civil engineering. Roads, bridges, harbors, lighthouses, aqueducts and dams are works that are abundant traces in Spain and a rich heritage. They reveal a whole network of critical infrastructures within the organization, and providing cultural and military expansion of the Roman Empire. Closes the area known exposure techniques and industrial arts, dedicated to the salting industry, the manufacture of glass, making dyes or processing of agricultural products.
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The glass in Museums: The Casa Pintada.
October 2012
S. XVIII, has enabled a visitor information point and the student of the artist's work Mulenen through five computers with information about the activities and publications of the seats of the FCG (New York, Valladolid, Barcelona and Mule) and artist exhibitions worldwide.
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New advisory council On the other hand, was established the Scientific Advisory Board of the FCP, a consultative body whose functions will be aimed at the proposed courses of action consistent with the purposes of the foundation and is composed of the presidents of the University The new permanent collection exhibitions of young artists of Murcia and the Polytechnic of the Museum Foundation Pain- monthly, as the seven selected Cartagena, José Antonio Gómez ted House-FCG (FCP) was prefrom the Call for 2012 Emerging and José Antonio Cobacho sented in Mula on a guided tour Artists of the FCP and that cuFranco Leemhuis, the mayor of of the artist, which names the rrently hosts Sample Ars AntrMula, José Iborra Ibanez, the formuseum, along with the Presihopoda ', the artist Diego Albermer mayor of Mula Diego Cerdent of the Autonomous Comto Pardo. vantes Diaz, the president of the munity, Ramón Luis Valcárcel, Association of Art Critics of Spain, After passing through the room the mayor Mula, José Iborra, Tomás Paredes Romero, the diand friends of the institution de- 2, the new permanent collecrector of the Chair Gabarrón, Midicated to the promotion of the tion explores the visitor in the public work of the artist, the monu- guel Angel Hernandez Navarro, arts. the director of the Fine Arts Mumental sculptures exhibited in seum of Murcia, Juan Garcia The new exhibition project dedi- various cities around the world, cated to the figure of the artist reaching Ward 6, where sculptu- Sandoval, the director of the Teatro Circo de Murcia, César Mulenen FCG 'explores the artis- res and paintings never seen in Oliva Olivares, a professor at the tic painter and sculptor, centethe region show research and University of Murcia and literary red at the origin of all things, experimentation with materials bringing visitors to the artist's like canvas, clay, fiberglass, iron critic José Belmonte Serrano, the diplomat Inocencio Arias Llamas, landmarks from a geographical and paper. art expert and collector José aspect, "according a note of Then, in room 7 you can see a López Albadalejo, and editorial the foundation, "for which the so series of sculptures in colored director of The Truth, Alberto -called cardinal points of Gaglass and the colors come alive Aguirre de Carcer. barrón take a prominent place profiles. in room 2 on the ground floor of Since June 2005, the Painted the FCP." The exhibition highTo end the tour, the last room of House Museum hosts the FCG, lights its latest creative career, the Painted House Foundation is an institution dedicated to dis"fostering a future approach to dedicated to the series icons, play and study the work of interthe artist's inner self, the personal personal images that obey an national artist born in Mula and creative process emerges in the imaginary self, developed over to value the cultural heritage of privacy of the workshop and the years and have become its this city and the region, and to that starting point is any aspect most characteristic sign, one investigate and promote conof life and personal experiences that allows trace his work over temporary art, especially the of the creator ». several decades. emerging, through an extensive program of exhibitions, scholarsThe exhibition begins by FCP in Once back downstairs, after hips, seminars, courses and conRoom 1 and the Bodega, both descending the ladder impressiferences. spaces dedicated to temporary ve palatial former residence of www.amigosmava.org
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
The Treaty of Guadalupe Monastery Windows (V).
Volume II — Number 48
October 2012
metal mouths of spanners so they should be smoothed occasionally: "These spanners were spent her mouth and so necessary, when they in when they, destemplarlos the lauio with that cut and close them every time that are filed are mui open ... ". At present, although the type of metal used is probably different, with the passage of time is still necessary to occasionally file tips bitten tongs.
Fernando Cortes Pizarro.
And those finger nails thumbs - The cut is to be performed in a are together and united as they single stroke or "coup" and if not, are, are in front of the line and small aciendo fuerça, will diuidido not happen again the diamond twice the same brand or do. And in this aya careful not "signal" being preferable to cut- acerlo of other lot for the danger and from a gash on any giting back some millimeters into ven hand. " the glass ("the bulk of a pin") and if that does not work well, Surprise again the precision and try flipping the glass, from the detail in the description of this diamond cut line on the other delicate operation, for which side; more than a glazier would have - The diamond hand grips "from helped the instructions available in the beginning. the same fate that takes a pen to write, salbo not to be lopsided as it is the pen, but eniesta and [per] pendicular on bidrio ...". This description matches exactly the way we subject the hopper now cut.
- The bit of the edges of the glass, often necessary operation to finish defining the shape thereof, is made using spanners tools called "... the mouth quales some have more, some less, - Has to pay attention to the noi- and applied under thick bidrio se made by the diamond tip to is ... ". scratch the glass because so we Currently, this operation is still know if the incision has been performed on glass bitten either made correctly. using tools with a substantially identical to that described in - To open the cut "... lameness the text, although generally intebidrio with danbas the hands and the part where the cut put- grated into the metal tip where ting perished in this way that the the wheel is cutting, or by using two index fingers are placed on a small pliers with finished tips as parrot beak. the part Hico cutting and both thumbs are to the contrary aside.
- The frequent bitten ends up spending glass or iron out
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Despite the intricacy of the processes described and as not to discourage the reader, the author decided to conclude this chapter with a quote as heartening as poetic: "ay other sets that are petty: the use and EXPERIENCE and hobby is the one who makes men get everything they try. " That lucky old stained glass are ground and as leads Bacian This chapter is for me, as a restorer of stained glass, a special interest. Again, the author shows his eagerness to conserve and reuse as much as possible of a window in disrepair ("unable to mend"). The tips offered are very interesting because they provide some clues about ways to reuse old stained glass removed by glassmakers. The reuse of the glass and leads from old windows has always been, and partly still is today, a widespread custom amongst the glass, as we shall see below. The glasses were kept to restore other similar windows leads while merged to become new profiles.
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Recycling. Mafias recycling.
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October 2012
Three years ago, Ruben, who is now 28, went with his brother to recycling centers to see what they could steal and then sell. "The irons that were in the collection points or down the street we saw a scrap sold them on the black market. Nor stole every day, just enough to eat and we would take iron and other materials of most value to avoid a higher fine. We caught several times, the truth "he admits. Today, Ruben is autonomous and works even if you are legally collecting scrap metal for his boss, whose company has the certificate proving that you can collect and sell waste.
incidents, they say. Some facts which gives a good account Pineda. "The municipalities, which are the ones who should report thefts clean points, clearly are not doing. A mayor went on to say that I do not care to fix this issue because it's five or eight sausages'' the people'' do not steal the bag, the car or at home from neighbors. Hence, no complaints. "
But not only are kids who like Reuben in his day subtracted with his brother to eat, there are a mafia behind perfectly organized, which makes capturing and Like him, more and more those who see storing of these devices to move them outside our borders, escaping the conin the theft of old equipment a try. The trol of the authorities . "Much of the macompetition is tough. The TV, radio or computer you no longer use and leading terials will subtract India, China and Ghana," says Pineda. citizens to responsibly recycling center is coveted object in the black market. Impact Every week there are thefts from collection points, which is bringing head to un- Some acts with economic, environmendertakings entrusted to recycle and treat tal and legislative dire. "Only in 2011 we waste electrical and electronic disused lost 150,000 euros for the robberies in platforms and management of these collection points, to 30 percent margin wastes. Especially this year and 2011. we have. And this year is having more However, just as managers reported the "RECILEC complaint manager. In fact, collection points, which are none other according to the company, over 70 perthan municipalities. cent of waste from collection points that came in 2011 at the plant in the municiBetter make 'blind eye' pality have Aznalcóllar Seville, was "cannibalized", ie without metals, witSo much so that Ecotic Recyclia and commissioned a private detective to find hout much of pollutants that have been issued previously to the environment. out if the work were taking robberies in Something that is taking the company to three points clear of Catalonia. Even more to find out was to confirm, becau- the limit. "For now we endured, he continues, but if the situation continues like, se the containers were full and clean points the next morning appeared virtua- do not rule out having to lay off." lly empty. "The photos taken by the re"Not only do we get less electrical and searchers show the thieves cut the fenelectronic equipment, but that we receice to enter the recycling center and tave-continues-not integers. The refrigeraking televisions and other electrical and tors come without the compressor witelectronic ... And pictures do not lie, hout the refrigeration cycle, the washer, "emphasizes Jose Perez, CEO of Recywithout motor TVs without copper witclia. Perez said that "since 2011 the hout smartcard; computers, no hard theft of equipment has increased, espedisk, no sound card and other waste, cially by higher raw materials'. such as radios, video , electronic toys we get clean aluminum, copper and Destination: India, China and Ghana iron. " And the treatment and recycling Well you know Leonardo Diaz Pineda, process has to continue having, even if RECILEC manager, company that is the product does not have practically no part of this waste through their plants economic value. For example, in the caAznalcóllar (Sevilla), in Mérida se of freezers, "As much as we arrive (Badajoz) and Loja (Granada). "Every without compressors do the same treatweek there are at least three to four rob- ment, treat foams where the gaseous beries in virtually every recycling center CFC freezers. of Andalusia, and Madrid, about three," But in addition, the handling of waste Diaz Pineda complaint. electrical and electronic equipment in an Obviously not all clean points is the sa- uncontrolled manner is dangerous and me. In the town of Parla Madrid, for can even cause serious health damage. example, where there is a device that "The TV's broken glass powders are gemakes rounds Police to ensure that the- nerated very dangerous lead contamire are no points in either robbery clean, nating the soil and health. In other ap"no more thefts are occurring.Have been pliances to canibalizarlos'' contact'' mercounted less than one a month in 2011, cury dust. " "say the City Council. So, on the ground of Aznalcóllar, 35 Also, the Civil Guard has no record of percent of cooling equipment that arricomplaints in this regard, at least not to ved in 2011 did not have the motorbe ignored. It would be mere isolated compressor. By subtracting the motor-
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compressor unit is released to the atmosphere around the refrigerant gas contained therein. The gases deteriorate the ozone layer and contribute to global warming, and compressor oil contaminates the soil. The refrigerators arrived cannibalized RECILEC the plant were responsible for the emission of about 3780 kg of refrigerant gas, representing an issuance of 18.9 million kg of CO2, equivalent to the emissions produced by 9,000 cars driving for a year . The crisis, the high value of some metals and the proliferation of illegal outlets where they buy, is the right combination for the emergence of hundreds of new outbreaks. The value of the "merchandise" varies. "For a ton of copper in the black market come to pay about 1,500 euros, by the washer motor three euro and two euros for the electronic card, hard disk ..." says Pineda. While Ruben explains, "now goes all by kilos. Also, do not wear a piece, but some kilos and get paid by weight. For a kilo of engine disassembled machine you can pay between 0.20 and 0.30 cents. Before I caught the whole appliances, today not only catch you have engine parts. " This lower price is because there is more competition and because increasingly, as Ruben says, "is more difficult because they ask roles, although there are still buying scrap paper products." There are also industrial thefts. While in other cases the rogue or the ignorance of the company, instead of calling an authorized company hires the services of someone not authorized to collect the items. "An event that affects the industry, as the price we pay rises. Also, if someone sees the copier lying in an area not authorized damages our brand image, "explains Miguel Sarwat, responsible for environmental issues Toshiba TEC. Sarwat explains that manufacturers pay € 0.18 per kilo of material electrical and electronic equipment put on the market to meet the recycling regulations. But thefts are making the objectives are not met, as Pineda complaint. "The legislation passed in 2005 is not being met. After seven years of its entry into force Spain, half Spain recycles about 3 kilos per person per year, when four would be recycled, "says Pineda. Assault on blue containers But do not just steal these residues. Also assail blue containers. No details, but the decline is striking collection of paper and cardboard, especially in large cities, as the fall in consumption is not as high. "In 2011, the collection of paper and paperboard fell by 25 percent in the nuclei populations over 500,000 compared with the previous year: in between 200,000 and 500,000, we have seen a decline of 9 percent in the less than 100,000 in July, so much could be due to theft, "say from Ecoembes. Something that match Aspapel. "The overall collection of paper and paperboard increased by 2 percent, but that is because the collection industry (such as shopping) continues to rise, however collected municipal fell by 8.5 percent in 2011 », explains Carlos Reinoso, CEO Aspapel. A Reinoso called particular attention to be given in large cities, because when the low consumption is approximately equally in all. " "You can do more to avoid these thefts, but in some municipalities like Barcelona, is having tracking, it is reported that there are complaints about it ...".
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Glass greener.
October 2012
Another objective pursued is the modification of the compositions of the products used in the process to be environmentally less harmful.
Volume II — Number 48
Less harmful to health
This results in a health risk to production personnel who handle these compositions, as well as greenhouse gas emissions.
Currently commercial compositions which generate the effects on ceramic gold and silver are based on the use of highly toxic organic solvents, and hazardous contaminants.
In this sense, the project proposes to replace all of these compounds by other solvents called glycol. In addition to being a good solvent for many organic compounds, glycols are completely water soluble and are characterized by a low toxicity, enabling the treatment and purification of efThis furnace would be used to process fluents generated by industry is much simpler. ceramic products and glass industry. Specifically applied to the manufacture Another innovative aspect is introduced The objectives proposed in this project of ceramic floor and wall flat, glass ceby the process of reducing the thickwould be achieved by using a furnace ramic and third fire. ness of the tile support 9mm to 4 mm. with laser technology for heat treatThe latter is a type of ceramic with adment and changes to the design and This not only reduces by half the ded value, which is subjected to sevecomposition of the products used in amount of raw materials and water ral firings to get a range of aesthetic the process. use, but also reduce energy consumpeffects (sheen, gold, silver, etc..). tion and emissions of greenhouse gaThis will help decrease the consumpSuccessive firings are necessary, sin- ses. tion of water, energy and raw matece many of the colors used in the derials. This will get complete the objectives coration ceramics can be obtained onset for this project and offer the ceraThis is related to several areas of prio- ly at very low temperatures (between mics and glass industry a new way for rity action in the EU, which has led to 600 and 800 ° C), compared to the your business to be more environmenframe the project within the line of cli- temperatures of conventional cooking tally sustainable and more competitive. mate change adaptation in the Life En- (between 1200 and 1400 ° C) required vironment program. by ceramic supports. The Institute of Materials Science of The European project, LIFE CERAMGLASS EN/ES/560 11, aims to develop new processing techniques in ceramics and glass, to more efficiently use natural resources and improve the environmental performance of ceramic and glass industry.
encompasses the design and construction of a pilot furnace, based on the combination of a continuous furnace and a scanning laser.
In addition to climate change, the proposed alternative process, provides an opportunity for competitive advantage in the industries producing ceramics and glass.
It is expected that the introduction of "laser oven" in the process, to obtain ceramic and glass with the same finishes and properties, but using significantly lower temperatures.
The development of new products with high added value would allow for economic and social development would result in a benefit both national and European.
This would be a significant energy and cost savings and a significant reduction of emissions of greenhouse gases.
A "laser oven" more respectful of the environment This demonstration project
The results expected to be achieved with this technique are beyond the means of the techniques used in the industry today.
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Aragón (ICMA), joint center of the University of Zaragoza (UZ) and the CSIC, is coordinating the project that also involved another joint center of the UZ and the CSIC, Institute of Chemical Synthesis and Homogeneous Catalysis, along with three other centers in the National Research Council (CSIC), the Institute of Ceramics and Glass Madrid, Seville Materials Institute and the Institute of Carboquímica. The company TORRECID, one of Europe's leading companies in the ceramics sector, complete the list of participants in this project, which has a budget of about three million euros and will take place over the next three years.
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In this section we detail the activities which take place this month, corresponding to the cultural visits related to the glass and outputs that we as provided in the program CULTURE 2012.
Cultural Tours. In this September we will perform
the objects listed in that book.
various guided tours to the Prado
We chose the 16th, Tuesday, open in
to see glass objects found in the
the morning and evening and on
paintings from its permanent co-
the 20th, Saturday, open in the mor-
llection.
ning for anyone who is interested in
Through the texts of "The Glass
Volume II — Number 48
October 2012
Our activities.
painting in the Prado Museum"
joining may have option to choose from any of these shifts.
written by scientists José María
Our partners, paying their dues have
Fernández Navarro and Francisco
a bonus of € 2 in the amount of the
del Aguila Capel and Prado Mue-
entrance to the Museo del Prado.
so website, we have prepared an itinerary through the different our main gallery rooms to see "in situ"
Culture 2012 Programme. Tourism Tahiti and the Marquesas Islands in search of traces of Gauguin is the desire of all those who have ever been interested in the work of French artist. Thanks to support from Tahiti Tourisme, the Museum could recall his flight and chart a course for Tahiti and Hiva Oa who was instrumental in the development of their research. Paul Gauguin's flight to Tahiti, where reconquered by the exotic primitivism, is the theme of this exhibition by a selection of artists from the late nineteenth and early twentieth centuries, discover how the trip to worlds supposedly more authentic transformation produced a creative language, and how this experience shaped the transformation of modernism.
In this month of October we will visit the exhibition of Gauguin's work in the Thyssen Museum in Madrid. What Paul Gauguin sought
when in 1891 he decided to leave Europe and sail for the South Seas? What did you find in the confines of the world forever transformed his painting?
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The proposed itinerary Alarcó Paloma, Chief Curator of Modern Painting ThyssenBornemisza Museum and curator of the exhibition, we will show the fruits of artistic explorations of Gauguin, Matisse, Kandinsky, Klee and Macke, among others, as well as the imprint Gauguin in the German Expressionists and the Fauves French, thereby demonstrating how the figure of Gauguin stands as the creator of a new canon that served exotic boot languages of modernity in the early decades of the twentieth century.
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Martin Walde. Sculptural technology. stone, bronze or plaster, would for
October 2012
the future development of the sculpture and the perception of it by the viewer. The ZKM in Karlsruhe, Germany, exposed to 18 October, a new version of the video installation Production Limits, which Walde
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exhibited last year at the Biennial of Contemporary Art of Seville, and his collection of Hallucigenia, sculptures made from blown thin glass units illuminated by high frequency technologies. The structure of these pieces is inspired by the invertebrate animals of Pre-Cambrian period, whose remains were discovered in 1977 Martin Walde, Austrian artist
sculptures, art advanced mate-
born in 1957 and internationally
rials capable of questioning our
recognized as a result of their
traditional conception of the
participation, twelve years ago,
art.
in the tenth edition of Documenta, has dedicated the last years exhibition design innovative practices that may involve public participation in the dynamics of installation process works and has tried to use in the preparation of his
The use of a new technology
in Canada. Hallucigenia is ultimately the result of the combination of own knowledge of art, technology, science and nature in the service of expe-
sculptural materials began to be rimentation. explored in the sixties, but had Karlsruhe, 30.07.09 barely evolved since then, and the aim of the research was to
ZKM. Zentrum für Kunst und MEDIE-
explore Walde consequences
TECHNOLOGIE
that the use of other elements,
Lorenzstraße 19
more contemporary our culture
Karlsruhe
www.amigosmava.org
Page 24
Glass in Rio de Janeiro.
Volume II — Number 48
October 2012

The Brazilian city of Rio de Janei- ked to media conglomerate
to float in the waters off the be-
ro has been transformed into a
Globo.
ach of Botafogo.
The aim of the organizers is to
The curiosity grew when the giant
mount an exhibition in public
maze Morris concluded triangular
spaces like every two years until
glass mounted in Cinelandia, a
the Olympic Games in Rio de
major public square in Rio de Ja-
Janeiro organized 2016.
neiro and located outside the
giant outdoor museum installation at various public places in four huge sculptures or interventions known international artists, and the projection of two audiovisual shows. The works have been presented officially as Brazilians celebrate the holiday of Diwali, but some, like the giant head created by Spanish artist Jaume Plensa and "floats" in the Guanabara Bay, attract attention from a few days earlier. The creations can be seen free in high traffic public spaces as Cinelandia Square, Madureira Park, the beaches of Botafogo and Arpoador, and the Arches of Lapa. The unprecedented public and
The first exhibition of the works were created especially by the British artist Andy Goldsworthy, music producer Brian Eno English, Spanish sculptor Jaume Plensa, the American sculptor
headquarters of the City Council. It was also possible to see the giant clay dome mounted Goldsworthy at the headquarters of the Citizen Action, a cultural center near the port of Rio de Janeiro.
Robert Morris, the Japanese de-
The Brazilian Oliveira, meanwhile,
signer and sculptor Ryoji Ikeda
opted for a giant wooden sculp-
Brazilian Henrique Oliveira.
ture was installed in the park Ma-
The sculptures and interventions may be appreciated by locals and tourists until 3 November, while Ikeda's audiovisual show is
dureira. The work takes the form of a road with a knot in the middle to allow the passage of the public.
designed only for three days
On the nights of 7, 8 and 9 Sep-
and Eno's digital projection ex-
tember could be audiovisual
hibited between 19 and 21 Oc-
spectacle mounted by Ikeda and
international art show with works tober.
was projected onto the sands of
by internationally acclaimed ar-
Arpoador Beach. The projector for
tists hear the result of the project (Other ideas for Rio), an acronym, read backwards, also re-
The outdoor exhibition began to arouse curiosity when a crane positioned on a special base
this installation was installed in a tower 15 meters high.
and in the middle of the Bay of
Cariocas have to wait until 19 Oc-
Guanabara human head in fi-
tober to see the thousands of digi-
The intention is just passing the
berglass Plensa created by Ca-
tal images that Eno projected on
idea that the city can be desig-
talan.
the white columns of the Arches
fers to the name of the city.
ned differently, told Efe the organizers of the exhibition, including Rio Globo organization, lin-
It is "Awilda", a sculpture by forty feet high representing the face of a Tahitian girl and that seems
www.amigosmava.org
of Lapa, the ancient Roman-style aqueduct of Rio de Janeiro and is now a major local tourist.
Page 25
The glass in the National Library.
Volume II — Number 48
October 2012
"The book is a whole but also the sum of its parts," according to the curator. Another proposal of Magda Polo in "The Book as a destination" is that visitors can "way of exquisite corpse", writing part of a book that will be developed during the days of exposure and then edit an e-book. In "The Book as a delicacy" means this "as food for the soul" and to express this idea the curator has selected books that artists have used the theme of food as "leitmotiv" of his work. Included in the celebration of the tercentenary, the Library offers an adventure in which visitors can interact with the 200 pieces on display through sounds, music, movie scenes or voiceovers.
objective of the commissioner has been "making a proposal that was not to use the visitor could interact and draw part of their content. "
The course is made up of nine sections which display works ran"Many people could not even ging from the avant-garde to imagine that in the Library are the present and begins with an preserved these works of art," introduction in which ten people said Gloria Perez-Salmeron, diin ten different languages rector of the institution, for whom explain what a book is for them. it is important to raise awareness The following presents the results and bring the public "the fourth of the proposal made by the estate library in the world" . network so that anonymous reaThe exhibition is sponsored by ders will select the 500 texts, Spanish Cultural Action (AC / E) which in his opinion are best and is intended, according to its described as a figure of world president Teresa Lizeranzu, literature and which are part of which capture the reality and the initiative. the future of books. In this section, titled "The Book as The works selected by curator a hunter of moments", contaiMagda Polo, except for a loan ned a book of Martin Ruiz Azua from the Museo Reina Sofia and object that allows visitors to photwo private collections that wetograph and place your snapsre important for the show, come hot into a framework that is profrom the collection of the Librajected on a wall. ry. "The book as poetic eyes" shows In addition to showcasing some works by Miró not exhibited so of the funds of artist books and far, along with other relevant arorder books from the Library, tists and publishers can appremany of whom have never par- ciate these books have strengtticipated in any discussion, the hened.
www.amigosmava.org
This section lists books Ferran Adrià and a work that Magda Polo considered very special. This is done by the Joaquim Meritxell Falcó Tembleque and formed by cast glass pieces writing therein. "It is a loan which we hope will become part of the Library," said the commissioner that "The book as a book artist" wanted to try establishing dialogue between literature and art. This important pieces selected Rafael Alberti and Antoni Tapies, Max Holzer and Paul Palazuelo, Jose Angel Valente and Antoni Tapies, Francisco de Quevedo and Antonio Saura, Alfred Jarry and Joan Miró, Picasso, Barceló and Chillida. With eroticism seen through the eyes of artists continued the journey in which you can see clips from the film "Fahrenheit 451" that illustrates, among other pieces, the section devoted to the book as wound. Done differential exposure is treated as musical scores artist books in a space that, next to the book as a journey, the journey ends.
Page 26
Other trends. The cathedrals of Peridis.
October 2012
Santiago, Jaca, Oviedo, Burgos, Barcelona and Lleida. He was the first who broke with the Roman and started giving prominence to light and space. Another example of medieval artistic vanguard, technological innovation and factory employment, rosetta stone capable of uniting the interests of the spirit and the flesh. "And it is also an example of a job well done, in cathedrals no bungling" says the artist.
Volume II — Number 48
If you captive Peridis Jamet, Michelangelo Albares, senior chaplain and art enthusiast as well as the artist, is fascinated by one of the altarpieces painted for one of the chapels of Almedina Fernando Yanez (Ciudad Real), one of the two disciples Spanish who went through the workshop of Leonardo da Vinci. "The Adoration of the Kings are all the teachings of his master, colors, hands, faces and light treatment, all except the pigments". Albares said that fortunately the painter chose to use traditional pigments, more durable than those used by Leonardo. There was a time that bishops with one hand wielding the sword and put other stones. Both hands working for God. Each in its own way. Say religions were warlike times, borders mutants, artistic movements devotees traveled on foot and running thousands of miles behind any chimera. The mosques were Christianized, Romanesque burst from France and pilgrims invested great energy in walking to shrines. A cathedral, with its play of natural light and their stories in stone, not only was the temple of God. "It was the theater of the Middle Ages," says José María Pérez González Peridis, the artist and architect who has done much to safeguard the Romanesque as a stonemason XIII century. "Imagine the feeling of that time a farmer riding his family in his wagon and go to see the cathedral of Burgos first" proposes. It is not difficult to fantasize with the farmer and his astonishment. The cathedrals continue to awaken admiration and curiosity many centuries after its construction. Peridis himself, who has just published the book light and the mystery
of the cathedrals (Oxford University Press), inspired by the television series to be broadcast on La 2 this fall, still finding surprises at every visit. This morning, without going any further, in the cathedral of Cuenca, where he presented his work. In the arch designed by the Frenchman Etienne Jamet (Esteban Jamete in Cuenca) to connect the cathedral cloister with carvings discovered two tiny bill vibrant male nudes. "This man had to be in Rome or know the work of Michelangelo," he says vehemently. Could. Jamet Caravaggio had a life: it was violent, quarrelsome and abusive. He went from place to place working for the stars of his time (Covarrubias, Vandelvira ...). He killed his first wife and chronicles not just dare him not to rule out also with the second. Blasphemed on scaffolding installed in the cathedral while over to the Inquisition. Time in prison several times. But, in short, was a sculptor and an architect divine picky. The arc Jamete, sublime example of Spanish Plateresque, is his masterpiece and, according Peridis, the perfect finish Gothic Renaissance interior. Santa Maria Basin is one of the seven cathedrals which are detailed in the book, along with those of
www.amigosmava.org
Blasphemous or not, more or less sinful, cathedrals promoters seeking artists and craftsmen capable of touching perfection. Hence Jamet escandalizase but was not fired. Besides, the promoters were not sinless: cabildo vanity is such that in the altar placed his symbol-a vase of lilies-over sculpture of God, as the chaplain warns more slyly, that struggles disseminate the secrets of a little known-cathedral receives 70,000 to 80,000 visitors a year, and attractive. Not only for the past. In the nineties had the good sense to order the windows that had been destroyed by the action of time and wars to contemporary artists like Gerardo Rueda, Gustavo Torner, and Henri Dechanet Bonifacio. The decision sparked controversy. Purists XVI wanted stained glass. But there were no holes in the windows but XVI. The process respected artists of medieval glass and molten lead, but introduced contemporary designs and colors. Torner, for example, has filled the cathedral of warm tones, sandy and orange, which warmed the chill typical of cathedrals. The natural lighting effects, which change every half hour, amazed. Although visitors are no longer peasants in a cart.
Page 27

In orbit above New York. the that, perhaps, Cloud City re-
October 2012
flections are received well in space. But this multilevel environment can also navigate on foot. "It is difficult to find," said Saraceno, "at the time when the transi-
Volume II — Number 48
tas, the work poses the challenge of how many images you can see simultaneously." (A challenge also raises the museum, with over two million items distributed some 190,000 m2). To visit Cloud City, the last work
The buildings become the mar-
of Argentine artist Tomas Sara-
quitas of clockwise, "continues
ceno, you have to cross the halls the artist. of the Metropolitan Museum of Art in New York and get directions to the terrace, on a path that runs between a huge number of fragments and cultural artifacts classified precise categories. Once on top, visitors celebrate the end of the road regaling a glass of champagne or, better, of San Pellegrino, while admiring the panoramic image of the city now interrupted by the presence and effects of installing Sara-
At first glance, and to compare it with other works (which have become the stuff of theoretical reflections as Sanford Kwinter or Bruno Latour), we find that there is less air Cloud City and more
"Walking through the work experience moments of discomfort because they are too reflexes. Paralyzes Some people, who would get dizzy, afraid. It is also possible to understand in a more philosophical and wonder how many realities can move comfortably, how we adapt
steel.
to new environments. "
When accompanied by the
The sun sets behind the buildings
question of whether this work is too heavy and appropriating the famous question that the architect Buckminster Fuller made to Norman Foster's Sainsbury
of the Upper West Side. Inside Cloud City the last day visitors roam without being aware that their bodies are mixed with distorted images, and increasingly
Centre ahead, ask: How Does
dark city.
Your Building Weigh Mr. Sarace-
Below, while enjoying the aest-
As happened downstairs in the
no? Saraceno laughs and then
hetic experience, some leverage
museum, Cloud City offers a
answers bluntly. "I do not work
the reflective properties of the
shattered reality. The structure, built by the aggregation of 16-
with absolute categories, but re- glass to take group photos whelative. Screws are seen, but re even the photographer is pre-
polyhedra dodecahedra and
when you walk inside I think the-
tetradecaedros-habitable, who-
re may also transmit lightness.
ceno.
se faces are lined with mirrored glass or transparent space alters the conditions conventional taxonomies provides both new and weaves relationships with their immediate environment and with other distant and unexplored . It is "like a sundial," Saraceno said, referring to how the sun's rays, the impact on the piece, and shoot stray towards random places and faces.
sent. "The challenge of Cloud City is
The materials are heavier, but I
not just technology," concludes
am disappointed. The weight of
Saraceno, "also social and politi-
things in relation to what you
cal.
compare. speculated In this work a lot with the satellites. I would like to put in orbit and orbit the weight there. This same
Why did not we think of cities where we live like Wikipedia, as a communication network, dy-
building in orbit would be light. "
namic and participatory? ". And
Cloud City reflects the environ-
be a mechanism through which
ment of the MET and repositions
to perceive the city differently
the building. Saraceno specula-
but to become a "heterarchical
ted to relate directly with the
network."
cosmos, with the stars or, more
"The inhabitants of nearby buil-
specifically, with the Internatio-
dings are going to find that your
nal Space Station, as advertised
window lights a few hours in the
on the website of the museum,
sun not generally received.
will be visible from the terrace on days and times indicated in
www.amigosmava.org
that Cloud City is not intended to
Saraceno is proposing to build a city on the MET, a New York folded on his terrace, which will remain in our orbit until 4 November.
Page 28
Eighty tears Gordiola.
Volume II — Number 48
October 2012
His most prominent Creu de Creus is a monument of 54 crosses-shaped tree that was placed in Randa last year on the occasion of World Youth Day. Another dream collaboration was mounting design prepared, also in 2011, for the exhibition of the Mare de Deu beds Morta in the Diocesan Museum. In his workshop Algaida sculpture remains for now, but the creator has been these days considering its location in the Cathedral. A farewell in style and leave its mark in the great temple of the Church in Mallorca Cathedral.
tion of the cathedral itself before," says a Heritage.
saints Mallorca.
convinced input, the experts, who ensure overall consistency.
Although Heritage technical analyzes and the project, sources say Consell assessment will not be ready for the official farewell Murgui.
Technicians analyze the liturgiThat seems to be the intention of cal sense of the work aspect Bishop Jesus Murgui with new art that no doubt plan as Falconer's The bishop, who met with Presiproject which provides for Seu. intervention marks the Year of dent insular, Maria SalomFaith. officiated the September 23 A large installation algaidí unkMass in which he said goodbye nown creator Jaume Falconer However, the artistic and aestoperate as a tribute to all the hetic aspect of the work has not to his parishioners. Eighty tears Gordiola glass strung on a metal base, on which Heritage decide now if they are too contemporary for a XIII century building and declared of cultural interest.
"It is a gift from the Mallorcan Murgui" sources close to the bishop sentenced. But an allegory and a tribute to all the saints of Mallorca.
The prelate is the alma mater of this project, which will serve as a farewell to his tenure on the island and expected to be installed in one of the side chapels of the temple.
Unlike intervention in the Blessed Sacrament chapel that Barceló conceived as a ceramic, the Falconer-as it is projected on paper-is a sculpture with a large iron structure designed by the Mallorcan artist. On it, like on the Predictably in the chapel known wall itself, will hang eighty pieas Vermells dels, the first to ces of glass made by the factowhich the visitor accesses the ry Gordiola. portal of The Almoina. For glasses-with-teardrop two The creator algaidí declined any men have been needed in the statements claiming that the complicated process of bloproject was still at an early stawing. ge. Each piece will be about 80 inHowever, the Consell Heritage ches high and 20 wide, which department on Monday receigives an idea of the magnitude ved the full report and the reof the intervention. quest for this installation, as happened with Barceló. "All are stained in a color we have achieved after adding miAgain, being a listed building of nerals" explained from the comcultural interest of this commitpany. tee will be responsible for giving area or not approval. The protagonist of this creator initiative, James Falconer, had "We must take into account several considerations. Among collaborated several times with them, the problem of conserva- the Bishop of Mallorca. www.amigosmava.org
Falconer, outside art circles, Miquel Barceló happens when intervening in the Cathedral and outperforms Joan Miró, rejected at the time by the curia. Yes he did Antoni Gaudi in baldachin and altar modernist details. Murgui, known for his discretion and his few public appearances, bet and establish a dialogue with modernity in a Gothic church as an ally taking your artist reference. According to the website itself from the Cathedral, the chapel dels Vermells is currently chaired by a painting of the Immaculate, the work of Guillem Mesquida and dated 1740. A piece that served to cover sometimes the central image of the altarpiece. Sources close to the project say the Cathedral of Falconer is flexible and could undergo several modifications to suit the needs of the temple. Anyway, before we can celebrate the Year of Faith with the tears of Falconer, the Bishop must pass the technical heritage and know no acts of faith.
Page 29
Volume II — Number 48
October 2012
Glass workshop in Murcia (XV).
JIMENEZ PEDRO CASTILLO JULIO NAVARRO PALAZÓN JACQUES THIRIOT
Built on this floor, side walls were subjected to a total repair in the vicinity of the mouth of the furnace, with the aid of bricks with a north and south coarse stone. Above south and west walls of the pit is identified either a floor, in contact with the furnace, due to the presence of blown glass fragments scattered on its surface. The exceptional state of preservation of this oven can advance some hypotheses about their refund and use. Just seems to lack the leadership that closed the set, however, its return is hypothetical, has not been preserved for any element that ensures us whether there was an upper chamber annealing. This oven may be used, thanks to its central fossa of primary furnace and melting furnace crucible with nine sidewalk due to its perimeter. It appears impossible to proceed with the extraction of primary glass melting us towards discontinuous use. This hypothesis, also apply to furnaces of this type of street Puxmarina (4 and 1 in the first phase), deserves confront other
examples of those who currently In this first process, described in medieval documents and trealack. ties of the sixteenth and seventeConclusion of the workshop enth centuries, the raw material It is difficult to interpret some tra- (vitrification, melting and other ces that are highly degraded, minor components) are available largely by successive reforms inside an oven, and after about and reconstructions that have six hours a temperature around suffered during the period of 750 ° C is transformed into a vitreuse. ous mass which was stripped of the remaining impurities in the If certain furnaces seem to restop and is subsequently allowed pond to a relatively unknown to cool until solidified. model, other, more complex, considerable uncertainties still Then, the material thus obtained present. was extracted from the furnace and the crucibles or reduced into The concentration in the same small pieces with the aid of a workshop several examples of hammer, to be subsequently inapparently similar function could troduced into a crucible together indicate not only the great cawith a recycled glass fragments, pacity of the workshop in terms all of which was placed inside of finished manufactured goods, melting furnace kicking off the but also a significant production process of forming a vitreous of raw materials demanded by mass could already be finally maother artisans. nufactured (Fig. 21). A production of raw materials This way of preparing the frit was seem to have been designed already in use in Roman times furnaces 4 and 1 (first phase) and is described by Pliny the Eland the Belluga Puxmarina, der, in times of Isidore fried prewhich as we have seen was also paration in two days had fallen a melting furnace. into disuse, but was carried out prior to calcination process raw The need for pre-melting promaterial was described by the cess in these workshops is that the technology could not achie- Spanish. ve preindustrial sufficient tempeThere is evidence that prove the rature in the melting furnace existence, at the end of s. XIII, a due to the fuel used, the wood. reverberation oven Murano, caIt was therefore necessary to lled "Calchera" which served to work in two phases. prepare the frit.
www.amigosmava.org
Page 30
More on "The Trinity”.
October 2012
In this regard, Moreno admitted that the group felt "fear" following recent meetings with Urban since, considered, "did not appreciate the extent of what is worth preserving Plenum ships", although they have been finding that "there is no license granted or authorized to demolish them, and yes of the
Volume II — Number 48
outbuildings." "We are very confident in their readiness, but we want to see them perform," summed spokesman 'Save the Glass Factory', on the other hand has thanked the draft recovery of historical memoThe neighbors in the environ-
are interested in accelerating
ment sector of ancient glass
efforts for administrations' move
factory 'Trinity' of Sevilla interes-
tab "in relation to the integrated
ted in the conservation of this
conservation of the ships, the
factory complex has praised the main interest of the group. action taken earlier this summer by the administration on the outside wall of the enclosure, on which had insistently demanded of an intervention by his poor state of maintenance.
Thus, the platform aims to promote both meetings with the Planning Department as the de-
Association Retiro Obrero (AHRO), Basilio Moreno, has told Europa Press that the neighbors
autiful, and quite a plausible detail to the glass factory." However, this initiative, "regardless of its rating, is not in the City's commitment to the platform and the city ahead of their protection."
vernment of Andalusia, with a
"What we want is the full conser-
factory set to debate face to
platform 'Save the Glass Factory' 'spot' the points required by the and president of the Historical
by the Session, it is "fantastic, be-
partment of Culture of the Goview to encourage visits to the
However, the spokesman of the
ry and documentary promoted
vation," he stressed, welcoming you and the Junta de Andalucía has secured this extreme conser-
neighbors, mainly the implemen- vatism under the Industrial and tation of the process of drafting asking, in this sense, "an act of a new Special Interior Reform Plan (PERI).
www.amigosmava.org
goodwill".
Page 31

The resonance of the material.
October 2012
Dualities And in that search found the duality of porcelain and glass from its initial liquid state and the strength of its completion, a concept that joined his intention restarles gravity, making them "light, which levitate." "It is a game of contradictions," he ex-
Volume II — Number 48
plains. To achieve this effect, Matutes Rahola materials used as structural foundations that disappeared with the high temperatures of the baking process, such as cotton, wool knitting, coffee filters or sheets. There is something organic in the result, although the artist is quick to Trained as an architect, Stella Ma-
cent work in porcelain and glass,
clarify that it is not something
tutes Rahola has embarked on a
plus a first approaches to plastics,
sought deliberately, while not den-
path of constant research into the
the new field of creative research.
ying some landlocked load at work,
matter into its "symbolic and physical", as she explains.
To Rahola Matutes, both porcelain
but, yes, "in a less conscious" .
and glass are materials as attracti-
In the nearest future, Matutes Ra-
A journey that takes her to assert
ve to her because "are closely lin-
hola soon participate in a group ex-
that "no materials are inherently
ked to the craft, to the production
hibition in Miami.
poetic, we can not prejudge the
of household objects."
qualities of a material, but we are the ones we make what are the relationships between the materials to take poetic qualities." If we translate those words into the physical plane will approach quite what she Gravitacions shown in the exhibition last September 13 opened in Ibiza s'Alamera and Socio-
In 2013 his work displayed at the
Familiarity with this matter is the ad- Centre d'Art Santa Monica in Barvantage to "descontextualizarlos celona and at the national arts iniand give them another look"
tiative looks of women, besides en-
through a "non-academic appro-
joying a residency at the Chinese
ach to the usual techniques."
European Art Center (CEAC) in
"Pervierto techniques and proces-
Xiamen, China.
ses to new results, look for the reso-
Gravitacions s'Alamera remain on
nance of the materials' highlights.
until the 27th of October.
Cultural Centre in presenting his rewww.amigosmava.org
Page 32
Françoise Vanneraud on ABC.
Volume II — Number 48
October 2012
Shadow play, a specific project for
observation beyond the
Bachelor of Fine Arts in his
the Project Room 4 ABC Cultural
appearance and the projection of
hometown, Vanneraud work has
and ABC Museum, is a work that
the observed subject.
been exhibited at the Museum of
invites the viewer to reflect on the different layers of perceived reality
Françoise Vanneraud
Fine Arts in Nantes (2012), in the gallery Raquel Ponce (who
and influence of the media, the
(Nantes, France, 1984)
represents in Spain) and in the latest
environment, politics, own
Based in Madrid, the French
edition of the 'Circuits "promoting
experience and collective memory Françoise Vanneraud is first and when view. foremost a storyteller.
young art Madrid and in international fairs such as ARCO or MACO.
The piece presents the form of a
Stories that feed everyday, from
submerged installation in the dark.
the pages of the newspapers, and
In fact, since September 15, is part
exploding, black and white or
of the collective 'Iceberg' in
color, murals on its premises, in his
Slaughterhouse-Madrid.
Upon entering the room, the viewer encounters a glass plate suspended large to eye level by four wires, creating a sense of
drawings and small paintings in which tends to accumulate.
unease and tension due to assembly and the unusual size of the glass. This houses a black and white drawing that makes up a first layer of reality, image of a superficial perception. On the ground casts a shadow, but this blend two layers, the apparent and the underlying result of the mixture between that projection and a new drawing on the floor surface. The resulting image is disturbing, focusing on fears and collective memories present in our current environment of social crises, symbol www.amigosmava.org
Page 33

How does.
Volume II — Number 48
October 2012
This month we include some pictures of the technique practiced by Steve Klein.
www.amigosmava.org
Page 34

The Glass Temple of Johor Bahru. The light came from a work of art
October 2012
in glass placed at the entrance of a temple. It was then decided that he would use the same material for his temple shining sunlight. Currently travelers are amazed
Volume II — Number 48
Sri Arulmigu vision Rajakaliamman, almost completely covered by colored glass pieces, both indoors and outdoors. A fragile beauty and captivating. As many as 300,000 pieces of red, blue, yellow, green glass, purIn the city of Johor Bahru, near
log cabin in one of the most be-
ple and white, including its floors,
the southern border of Malaysia
autiful place of worship Hindu
pillars and walls.
with Singapore, is one of the
Asia. And of course I got.
most impressive architectural
So, in just five years, it managed
hanging from the ceiling that so-
to expand and completely re-
metimes reflect a blinding light,
build the temple and turn it into
but when the eye becomes ac-
an impressive display of Malay-
customed to it can enjoy a fabu-
gems in the world: Sri Arulmigu Rajakaliamman Temple, also known as "the Temple of Glass",
one of the visits required in every sian architecture. trip to Malaysia. Responsible for the whole proArulmigu Sri Rajakaliamman was ject, the Sri Guru Sivasamy Sinbuilt in 1922, although its original appearance was much more modest than we can now contemplate. His real expansion began in
nathamby says he was traveling in a rickshaw Thai Bangkok when he conceived the idea.
There are large glass chandeliers
lous view. The glass sanctuary is air conditioned and has a capacity for 1,500 worshipers. Although its primary function remains religious, the "Temple of
While traveling, looking around,
Glass" Johor Bahru is always full
a bright light in the distance
of tourists and foreign visitors who
1991, when the current priest de- caught his eye and decided to cided to transform the humble go after her. www.amigosmava.org
want to be dazzled by her beauty.
Page 35
Islam in the Louvre.
Volume II — Number 48
October 2012
The Louvre Museum began a heavy week of inaugural events Arts department of Islam and their new 5,000 square meters, where exposed under a blanket of glass and corrugated metal an integrated collection of 18,000 works created on three continents and 1,200 years of history.
the historical facades and art museum. It is the journey of the Persians to Paris told by Montesquieu, the uniqueness and the look exchanged reciprocal that "forced to accept their differences," said Efe Ricciotti.
The aim was also to "celebrate the collections", for which they earned Of these 3000 are exhibited master5,000 square meters of exhibition pieces of time, many for the first tiarea, he said. me, from civilizations arose between Spain and India, between the The second achievement was the seventh and eighteenth. excavation of twelve meters in the Along with multiple pieces of incredible courage, like al-pyxis Muguira, elephant ivory urn that belonged to the Umayyad caliph son Prince of Andalus Rahman III, the stellar figures of this opening are the architects Mario Bellini and Rudy Ricciotti . Together they were architects of several architectural feats that French President François Hollande, open tomorrow and discover public beginning Saturday.
basement of the Visconti courtyard, where they got "huge amount of square meters of land," after injecting cement under high pressure in the foundations of the walls of the Louvre, thanks to a French technique toe called "jet groutin" said Bellini. "We did what we already did in the days of the Pyramid (of IM Pei, opened in 1989): exploit the subsoil to gain new spaces in the Louvre," said Bellini, particularly pleased that the museum were moving only "a millimeter "with this delicate and" very, very complex "operation.
The first was the creation of a veil, red winged glass or tapestry and gold and silver metal, supported by An excavation beneath the historic eight pillars bent 30 centimeters in facades of the Louvre "very diffidiameter. cult, very risky and very dangeThis "blanket", as it is also called, co- rous," he stressed Ricciotti. vers only partially the Visconti "Our decision was not to cover the courtyard, built between the XVIII patio" with a transparent roof to and XIX, without hiding its walls."We add floors inside or build a small wanted to give mutual legibility" to
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building in the center "and it was a good idea" because he won the competition, he added. Given an assignment of this type "can not avoid producing an architecture that makes sense, contextual, that relates, that encourages an interactive exchange with the context," he said Ricciotti. In the Louvre, "arguably the monarchic-republican context" since the first initiatives occur under Louis XIV and the Republic continued, so it was impossible to build "in indifference, or the lightness, nor in gravity. " Ricciotti also stressed the construction of a single block of cement injected, "like a ship", the staircase leading to the basement rooms and that you think is a real "sculpture variable geometry", very sensual. With the corrugated layer partially metallic and translucent, added, "it all comes down, we move into the space," in an absolute readability and, finally, "on a scale geometric graph with respect to the representation of the works of Islam" where the human figure is very little present. "Even when viewing the exhibits is that the figure is present" and influenced by foreign religions, said the architect, who along with Mario Bellini museum signed conception of the place.
Page 36
“Inmobile” in Geneve. The work of Marlon de Azambuja
October 2012
explores the essence of objects and structures from the possibilities that arise from re-imagine their presence, examines some of the most common and familiar in the urban landscape - buildings, sidewalks, streetlights, bus stops, bike racks, public banks, etc.
Volume II — Number 48
By inserting a load everyday imaginative scenarios, Azambuja transforms them into continuous sources of wonder. In his ephemeral sculptures, installations and drawings, Azambuja active mechanisms to draw attention to things that would otherwise remain invisible. By accentuating the gap between The Studio Sandra Recio Geneva
The reference to Calder continues
structural elements and everyday
(Switzerland) presents new works
in the series of drawings / collages
objects, new situations, encoura-
by the Brazilian artist based in Ma-
where images torn from a book
ging relate differently to the places
drid Marlon de Azambuja.
about the American artist face
they inhabit.
The exhibition, entitled "Immobile" presents drawings and installations that investigate the movement and stillness, the breakup and re-
drawings father of rationalist architecture, Le Corbusier, in an unexpected dialogue that evokes the eternal struggle between the rhy-
These works not only offer an alternative to our urban reality, but we offer a key to the new observations
me and reason, poetry and prose.
and multiple interpretations.
buildings and the people who in-
Finally, a fragile sculpture in which
Source: Studio Sandra Recio
habit them.
the combination of glass plates
conciliation between the spaces,
"Immobile" begins with a piece titled like the exhibition, where a sculpture by Alexander Calder is on a pedestal designed "traditional" way.
and flat construction elements create a kind of absurd architectural model where the famous phrase adopted by Mies Van der Rohe "less is more" seems to take radical proportions.
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Title: "Immobile" Venue: Studio Sandra Recio Location: Geneva Country: Switzerland Dates: September 21 to November 16, 2012.
Page 37

Report of spoliation in La Trinidad. censed" to "sloppiness" of the
October 2012
authorities responsible for ensuring for its maintenance and upkeep. "It has been the looting of scrap in the street, a largescale dismantling of a professional nature," said a spokes-
Volume II — Number 48
man of the platform, Basilio Moreno. Further indicate that for moving parts have disappeared these months has been necessary mechanical, "as shown in the wheel tracks of cranes and trucks that have been found inside the compound." The complaint asked the Attorney to act against "these serious events" and locate those responsible. Also appeal to the responsibility of the City Council, the Board and the Compensation Board Special Interior Reform Save The Trinity platform leads spoliation" ensuring been suf-
Plan.
to the desmantelimiento Attor- fering Glass Factory Trinity sinney "scale" of the listed builce it closed more than a de-
The platform calls for "greater
ding
cade, and in recent months
promise of Urbanism" in con-
has experienced "a quantum
junction with the technical visit
leap".
the building to assess their sta-
Disappearance of a large scale from the early twentieth century, demolition of three
According to Save the plat-
annealing furnaces and one
form denounced the glass
vigilance" and observe "the
tus. The PSOE raised the issue in
glass melting, and subtraction factory to the prosecution,
Parliament and referred to the
of two annealing coffers and
this building located in Mira-
PP that the obligation to care
air transport system of glass
flores Avenue and declared
for the building's Compensa-
pieces.
Ethnological sight since 2001,
tion Board but said the city go-
is suffering "a takedown unli-
vernment is vigilant with it.
Is the balance of "intentional
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Page 38
Museum and Vimbodí glass furnace.
October 2012
Preparation of several pieces With fused glass workshop students will learn two techniques: the development of glass blowing, by the master glassmaker Museum, Paco Ramos, and fusion technique vitro. Students will prepare a dish, a candle or a bowl for grapes or che-
Volume II — Number 48
rries. This work will be sent to participating school within 10 days. For workshop and craft of wicker sargaire, students develop a protector with bone for a glass, which The Museum of Glass and Oven Vimbodí presents the first school workshops on traditional crafts and sargaire glaziers
seum premises.
will be the same day.
Glazier's workshop and the office
The workshops are part of the va-
of sargaire, or coated bottles and other glass containers, will have en-
The Museum of Glass and Oven
terprise monitoring montblanquina
Vimbodí (www.museudelvidre.cat), Play & Learn, Maite managed Gamanaged by the City of Vimbodí and Poblet, this course will begin the first 2012-13 school workshops dedicated to traditional crafts and sargaire glaziers, formerly very present in the locality.
rious activities of promotion and dissemination of the glass holding Vimbodí City Council and Poblet. Moreover, the City Council, along
llardo.
with the master glassmaker and his
The aim of this new educational
and dissemination of traditional ob-
initiative for schoolchildren at the Museum of Glass and Oven Vimbodí is to spread two traditional professions and crafts, show pro-
assistant, have started the recovery jects related to Catalan culture using glass blown glass technique, as elaborated formerly local kilns . Earlier this year began promoting
The details of this new initiative has
duction of glass as a symbol of
been presented to the head tea-
identity of the municipality and the
chers of the Conca de Barbera, in
region and highlight the importan-
a meeting organized by the De-
ce of sargaire and other offices in-
partment of Education of the Dis-
volved in the production of glass,
trict Council and attended by re-
like a lumberjack or a fireman.
king on promoting almorratxa, a
It also seeks to use glass as a me-
ferent nozzles with traditional dan-
presentatives of the City and the company vimbodinenc taught workshops: Aventurine (www.aventurina.cat), dedicated to the teaching of crafts and specialized in the art of glassmaking. In the presentation, attendees were able to see a sample of students will perform pieces in these workshops, which will be held in the mu-
dium of artistic expression (highlighting features that make it unique: color, sound, texture), discover the glass as playmate, encourage the use of glass in the daily acts , recognize everyday objects made of wicker and other plant fibers, and discover the production of wicker with a playful experience.
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marriage (container for oil and vinegar in a single package) through a potential legend oriíens detailing of this piece, and is currently worcolorful container consisting of difces perfume spread throughout Catalonia. Schools that are interested in the workshops of glass and can consult the websites sargaire www.museudelvidre.cat or www.aventurina.cat
Page 39
Nuestro Boletín tiene su redacción en:
October 2012
Castillo de San José de Valderas. Avda. Los Castillos, s/n 28925 ALCORCÓN MADRID
Volume II — Number 48
Al vidrio por la cultura
Presidente honorario
Vocales
Javier Gómez Gómez
Rosa García Montemayor
Presidente
Evangelina del Poyo
Miguel Angel Carretero Gómez
Diego Martín García
Vicepresidente
Francisco Martín García
Pablo Bravo García
José María Gallardo Breña
Secretaria
Mª Luisa Martínez García.
Teresa Fernández Romojaro
The purpose of this Association is to promote, encourage and support many cultural activities in the broadest terms, are related to the mission and activities of the Glass Art Museum of Alcorcon. Our goal is to develop and collaborate with other public or private entities to promote, protect and promote the art and culture.
www.amigosmava.org
The Association of Friends of MAVA was incorporated on June 21, 2003 in accordance with existing management.
Tesorera Mª Angeles Cañas Santos
Page 40
Line of research. Images.
October 2012
Volume II — Number 48
Fig. 1
Fig. 2
Fig. 3
Fig. 4
Page 41
Techniques. Images.
Volume II — Number 48
October 2012
Fig. 1
Fig. 2
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Workshop in Murcia. Images.
Volume II — Number 48
October 2012
Fig. 21
Volume II — Number 48 October 2012
Page 43
Javier Velasco. Images.
Volume II — Number 48 October 2012
Page 44
Sara Sorribes. Images.